Z 43 
.S52 





v >*&*£'• % J? * 

^ ♦ jAWTk* N£ 



; ^ 

* ^ ^ ° 


> *° ^ * # 

♦ >o <% * % 

<J> * O H O 

* * „ T^\ i > 

^ ,'4 V. ' «,. / 



,^ V 



V \ 

■£'■' „, ' 

C° •^SSW* o , J 

< y^d* r £ **n—*>• 

■ & '^tlm?' a- 0 ’’*. V 

A- '<*>. '•••’ *V ° 4 . "'* „^° .. 

V t s'^. \> V A* 0 -* C\ * 





4 * \> *, 



<* ' 0 . 7 - .G- '.,S - <r ^ 

v » a <£ r* » o " o * ^O <G , 1 ' » ^ "<$*£ 

A ^ 0 U .«W>’ vj> %r 





« <r\ + %e!r*\* n 0 ■* 

- $ 'MAV %>'<v * 

■‘ V : lit-. ^. W,/ V •-. 


3 

4 0 . * ^ 

^ > *<> 



* 4 ~C 

o V 


V 

<?* °. v 



r 9 

t / 


^ jr/y 

n jjn^lU/ 

'/Xc? * r 



, ?>° ^ 

• » 1 * A 0 * o « 0 '' A>’ 

,0 . * •* '•* > V 

/ jp *\ *J%M ^ ^ % 

<, 'o. 7 * «G^ y> A aO 1 

». i a ^ Q ^ 1 o n o ^ , i- ' « ^ <y 



v> ' V QX// 'S 

, ^ ( , 


O. ^ 




















r. * 

.0 riA * 



0 ; V '‘•.'.o’ 
«\ . 9 r V 

V 



•^o 5 


/ v^V V 3 *-/ v 

y ^t. 0 , o <y ** v v o, 


* ^ <A * 

•• % «? .* 

• A #% 

- -M**r,* V ^S> •> 

> *-V.»’ A 

; *b / ^o» 




A* *'. 

V^v 


C^tn. - 
* 4 / '-Q«>. * 

•* .^r \£a - 


<* A *o*'** ,0 V "o. **T7* * A 



*?•** * 1 0 l ^ ; **°*> 

,0 V %»o° ^ 

r »vVL/«. *> v k’*®- ^ 






^ .A 

■w 


O « a 


A ^ 

* <v ? 

■* <£. v ^ * 


*- - * * <G V 'o '< 



» «• * \ 

jy , ^ «„ 

*• 'O 

; *b ; 

^, * p> ^ * 

* / i * At <P\ © w o 

<? v v> 

^ AT S 
° 2 ^ V 

• **«V o 


<* ^ 


* s * A 


< 
















































T"o^HOW TO TEACH 

VERTICAL WRITING 


A MANUAL 

DESIGNED TO ACCOMPANY THE 


VERTICAL ROUND-HAND WRITING BOOKS 


BY 

H. W. SHAYLOR 


BOSTON, U.S.A. 

GINN & COMPANY, PUBLISHERS 

Cbe &tf)en0ettm JJregg 

1898 



22119 


Copyright, 1898 

By GINN & COMPANY 

ALL RIGHTS RESERVED 





HOW TO TEACH VERTICAL 
WRITING. 




THE VERTICAL ROUND-HAND SERIES. 

The object of this manual is to afford teachers, in as con¬ 
cise form as possible, information and suggestions that shall 
enable them to get the best results from their pupils in 
vertical writing. 

The first requirement in a teacher of writing is a proper 
conception of the importance of good penmanship. Should 
the teacher reflect that only a small proportion of his pupils 
can look for preferment through wealth or influence, while 
the greater part must rely wholly on their own ability to 
secure business positions; that, moreover, ability is fre¬ 
quently of no avail without the accompaniment of a neat, 
legible handwriting, then the teacher who did not insist 
upon his pupils acquiring such a hand would feel himself 
indeed blameworthy. 

The advantages claimed for vertical writing over slant 
writing may be stated and arranged as follows: 

C i. Simpler forms. 

I. Legibility ^ 2. Shorter letters. 

1 ^ 3 . Wider spaces. 


JI, Rapidity 


f 1. Less distance traversed. 

{ 2. Greater freedom of movement. 


4 


HOW TO TEACH VERTICAL WRITING. 


' i. Space and time saved by omitting 
superfluous strokes. 

I 2. More words on a line. 

^3. More lines on a page. 

f 1. Greater uniformity. 

{ 2. Greater simplicity. 

f 1. Position more healthful. 

{ 2. Strain on the eyes spared. 

LEGIBILITY. 

Whatever doubt there may be concerning some of these 
claims, there can be none about the increase, in legibility, 
which is apparent from the start. The reasons are clearly 
seen. The eye takes in a simple form with less effort 
than a more elaborate or complex one. The straightening 
up of the main lines makes letters appear farther apart, 
hence clearer and more distinct. Indeed, the main strokes 
are farther apart than in slant writing, if the distance 
between them is measured at right angles. Further, in the 
Vertical Round-Hand Writing Books, the turns at the top 
and bottom of the small letters are broadened, which makes 
the writing more round and, accordingly, more legible. 
Another element of legibility is the system by which the 
capitals and loop letters are just twice the height of the 
smaller ones. 

RAPIDITY. 

It will be admitted by every one that the last-mentioned 
feature conduces to rapidity as well, for it enables the 
learner to write with due regard to proportion with much 
less difficulty of measuring by the eye. We do not believe 
the forms need to be exactly like print, but as nearly a& 


III. Economy 

IV. Beauty 

V. Hygiene 



HOW TO TEACH VERTICAL WRITING. 


5 


possible like print, while still capable of being rapidly and 
easily executed. Now, in printed Roman text, the capital 
and extended letters are only one-fourth higher than the 
short letters, while there is yet no difficulty in reading easily 
and swiftly. In script, however, since it is necessary to 
make the extended letters with a loop, an increase of height 
is thereby involved. A glance will convince any one that 
loops and capitals twice the height of the shorter letters 
are amply tall for clearness, while they are easier to exe¬ 
cute, especially in hasty writing, than when extended more 
than this. 

We have laid first and greatest stress on legibility 
because it is, in the demands of the business community, 
broadly speaking, the primary essential. But, while acknowl¬ 
edging and remembering this, we must not seek legibility 
at the cost of other qualities nearly as important. We must 
not sit down satisfied with the attainment merely of a 
legible hand. To write legibly, without regard to the time 
employed, would be a serious mistake. The government, 
ordering a gunboat designed primarily to carry certain 
armament and to resist an enemy’s fire, would not contract 
for any such boat without a stipulation as to a possible 
degree of speed. So in the construction of one’s hand¬ 
writing— one’s main weapon in the business war — an 
element as sure to affect its availability as speed should not 
be ignored. The quality of ease should be regarded along 
with legibility. 

BEAUTY. 

Some of the advantages claimed above in behalf of verti¬ 
cal writing are too obvious to need explanation. Under 
the head of beauty, however, let us say a word. Uniformity, 
as has been suggested, is always pleasing to the eye. Sim¬ 
plicity, too, is generally admired and preferred to orna- 


6 


HOW TO TEACH VERTICAL WRITING. 


mentation, unless ornamentation makes an object more 
suited to the purpose of its creation. Useless decoration 
is not only expensive both in time and money, but is gen¬ 
erally considered as a mark of bad taste. By recommending 
simplicity in writing, we do not plead for absence of beauty, 
but for a style free from useless, meaningless lines and 
flourishes, such as are sure to diminish clearness and offend 
the eye. Good proportion of letters, gracefulness of form, 
and ease of execution, are features that must strongly 
recommend the Vertical Round-Hand Books. Thus, while 
making utility the prime consideration, we have thought 
best to observe the demands of beauty when these did not 
interfere with our main purpose. 

* * * * “If needful things were all, 

The earth might be without its beauty and yet produce its fruits, 
And all the gorgeous hues and shades that deck the pleasant face 
of things, 

The scented flowers and many-colored tints, might be one level 
blank.” 


GRADING. 

To pass to the details of instruction: The teacher 
should see that the work is carefully graded. There can 
be little room for perplexity in this matter if the Vertical 
Round-Hand Writing Books are used. Each pupil should 
be provided at the outset with that number of the set best 
adapted to his need. 

This series consists of four small and seven large books. 
The small books are designed for use on desks which may 
be rather narrow for larger books. They may be used in 
alternation with large books in school-terms of different 
lengths. As the grading is nearly the same in the corre¬ 
sponding books of the first four numbers, it will be found of 
advantage, where the small book does not afford sufficient 


HOW TO TEACH VERTICAL WRITING. 


7 


practice in writing, to follow it with the same number of 
the larger book, or vice versa. 

As all written work ought to be done with care, it will be 
found helpful to use in connection with any of the numbers, 
in any grade, Ginn’s Vertical Spelling Blank, which contains 
all the capital and small letters at the top of each page. 

The greatest care has been taken to grade the books 
skillfully to meet the needs of the pupil in his progress 
from term to term. Attention has been given to grada¬ 
tion in the length of words, as well as to selection of words 
which may fitly enter and enrich the vocabularies of chil¬ 
dren. Words which allow a variety of combinations have 
been chosen, sentences formed which shall not only afford 
good copies, but be of interest in themselves. In his first 
book the child may need to concentrate his mind upon 
the forms of the letters to be reproduced, since they are 
new to him. As familiarity grows, the writing becomes 
more a physical and mechanical effort, and he may think 
as he writes. The German proverb says truly, “What goes 
into the mind through the eye never comes out again.” In 
the series of writing books recommended, the earlier num¬ 
bers contain many concise statements of interest, as well 
as sentences embodying simple scientific truths adapted to 
the ability of pupils to write or to comprehend. No. 5 
contains sentences relating to American history, arranged 
mainly in chronological order, while Book No. 6 contains 
facts of English history, similarly arranged. The interest 
which these fifty statements may rouse in a class should 
prove a valuable help to the teacher in making the writing 
hour a success. Book No. 7 contains many important busi¬ 
ness forms and enough body writing to be serviceable 
training for record keeping. 


8 


HOW TO TEACH VERTICAL WRITING. 



POSITION. 


The teacher must understand the theory of correct posi¬ 
tion, and should insist on such position being maintained 
by the class. A thorough drill in this matter is necessary 
with all of the classes until every child understands how 

to take the proper posi¬ 
tion at a given word. 
General directions be¬ 
fore the class, no matter 
how clearly given, will 
not reach every pupil. 
Individual instruction 
and assistance on the 
part of the teacher are 
necessary to make cer¬ 
tain that all understand 
what is required. 

Pupil. — The pupil 
sits directly facing the 
desk, with both arms 
supported by it, the feet 
squarely on the floor, 
the body straight but in¬ 
clined slightly forward. 
The hand and forearm 
are in a straight line. 1 
Book. — The lower 
edge of the book is parallel with the front of the desk. It 
is placed well up on the desk, so that the arms may be 
supported; and as successive lines are written the book is 
moved up rather than the arms down. 

Pen. —The pen is held lightly between the thumb and 
the first and second fingers, the end of the first finger being 

1 See cut No. 3, page 38. 





HOW TO TEACH VERTICAL WRITING. 


9 


about an inch and a half from the point of the pen. The 
third and fourth fingers are slightly bent under the hand, 
forming a support for it, and, at the same time, raising the 
wrist from the desk. Both points of the pen bear equally 
upon the paper, and the penholder points in the general 
direction of the forearm. 

This will make it necessary to turn the pen in the hand 
a little toward the left, to secure a clear, strong line. 



The elbo-w of the right arm should not be placed on the desk. The line A B is 
to show direction of front edge of desk, so that one may see about what angle the 
forearm should make with it. The left elbow should rest at or near lower left 
corner of the desk. 

As a help to getting an erect position and freedom of 
movement, the following exercise may be practiced. Let 
the pupils take a pad or a large book like a geography, 
place a few sheets of paper on the book, and, sitting upright, 
hold the book in the lap, its upper edge resting against the 
desk so as to form an angle of about twenty degrees. Then 








IO 


HOW TO TEACH VERTICAL WRITING. 


let each one take a pencil and write on the paper some 
simple words. Here the arm should not rest on the book, 
but should move as a whole throughout the writing of 
each word, sliding on the nails of the two little fingers. 
One or two trials will show that, if the paper is held so 
that the top edge is parallel to the front edge of the desk, 
writing vertically is not difficult. It will also convince one 
that it is not necessary to lean forward very much in order 
to see the work clearly enough to write well. Of course 
it must be understood that this is not the position we advocate 
for the usual writing lesson. 

In the above cut, No. 2, the hand is seen from the front, 
and is held well up, resting on the nails. It will not matter, 
after a little, if the action of the fingers comes into play in 
conjunction with the arm, but not enough to form a rest on 
the right side of the hand if one would write easily and 
rapidly. Mere finger movement is slow and painful if the 
writing is long continued. Bookkeepers, and all others who 
are obliged to write continuously for hours, must of neces¬ 
sity write with freedom of movement. To give a class the 
right conception of a proper movement by which vertical 
writing may be done easily and rapidly, begin a lesson 
somewhat after the following manner, especially with pupils 
of ten or more years of age. 

Request the pupils as a class to stand directly in front of 
the desk, if the chair will allow, otherwise at the left, but 
near to the chair, so that the right hand may touch the desk 
nearly in front of the body. Let them each take the pen 
in the hand, as described for pen holding, only with the end 
of the holder pointing down, so that they may trace a word 
on the desk without scratching it. Allowing the penholder 
to touch and the hand to rest on the nails of the third and 
fourth fingers (no part of the arm touching the desk), ask 
them to trace any simple word, as, for instance, nine, 


HOW TO TEACH VERTICAL WRITING. I I 

making the traced letters about an inch or so in height. 
Let them do it with a fair degree of speed, that is, as fast 
as it can be done consistently with good forms of letters. 
Do this three or four times, and ask them to observe whether 
the center of motion is at the wrist, at the elbow, or at the 
shoulder. They will tell you the shoulder is the center, as 
it unquestionably is. Having drawn out this answer, have 
the word traced again, and perhaps two or three other simi¬ 
lar words, so that there may be no question as to the point 
being understood. Now allow them to sit, and ask them 
to trace the same words and see if they can use the same 
movement. In doing this they will naturally raise the arm 
free from the desk, resting only on the nails, which of course 
will move across the page as the word is traced. Let them 
do this several times, each time reducing the size, finally 
bringing it down to nearly normal size. If now they say 
the desk is too high, that it seems to elevate the shoulder, 
which it will undoubtedly do with many of the smaller 
pupils at least, ask them to let the arm rest partially on the 
desk, but still to move the hand forward a little with each 
word traced — rather than to allow the hand to drop over 
to the right and become stationary, so that the result will 
be wholly a wrist action. Some have advocated allowing 
the hand to turn and rest on the side just forward of the 
wrist, and to this there would be no objection, if by so doing 
the hand did not become fixed in position. The tendency, 
however, is to make such a rest stationary, and so we think 
it better to let the nails of the third and fourth fingers form 
a movable rest. 

Now, in order to secure correct form with a proper move¬ 
ment, let the class turn to the third cover page of the writing 
book, where a few exercises are given for just this purpose. 

The first movement exercise is the small z, written con¬ 
secutively nine times. Request the children now to turn 


12 


HOW TO TEACH VERTICAL WRITING. 


the penholder so as to trace with the dry pen and trace 
the first exercise in the same way they have traced the 
imaginary words. There will be three points to be observed 
while tracing, as follows: 

(1) To trace through the line without stopping the pen. 

(2) To observe the full round turns at the bottom of 
each letter. 

(3) To see that the downward strokes are vertical, which 
will not be difficult if the book is properly placed, as 
directed above. 

Trace any of the other exercises in like manner. 

These tracing exercises should be followed by practice of 
the same on loose paper with ink or pencil. 

Of course these exercises are always in order, and five 
minutes devoted to this part of the work preceding each 
lesson for a few days will prove very helpful. Take, of 
course, the exercise which is best adapted to pave the way 
for the copy to follow; as, for the capitals, the exercises 
which are nearest to the form of letter in the copy. 

Some of the points to which special attention should be 
given may be mentioned here. 

To pupils who have had but little practice in vertical 
writing, as well as to those to whom it is entirely new, one 
of the difficulties sure to be met with will be in the round 
broad turns at top and bottom of the small letters, espe¬ 
cially in letters like a, d, g, or y. The m and n also, as well 
as similar parts in h and y, will need attention. The third 
exercise on the third page of the cover will be found help¬ 
ful for the latter, but for the first letters mentioned let the 
class try the exercise referred to on page 25, under directions 
for small a. 

Speed lessons should be given frequently. Dictate a full 
line sentence, and require it to be written carefully on paper 
by every pupil two or three times. Then ask all to write 


4 

HOW TO TEACH VERTICAL WRITING. • 13 

the same sentence till you call “time.” See how many lines 
can be written in two minutes, and done fairly well. This 
continued regularly will give very satisfactory results. 

USE OF BLACKBOARD. 

The blackboard is indispensable in teaching writing, 
and should be constantly employed. At the beginning of 
each lesson a few words in explanation of the copy to be 
written, illustrated by diagrams, will not only secure at 
once the attention of the class, but will help to fix it on 
the single point under consideration. This leads to an 
important principle carried out in the books. Some one 
feature is to be made prominent at each lesson. Since the 
letters, both small and capital, are, in all the lower numbers 
of the series, taken up in regular order of development, it 
follows that there will be some new letter on each page on 
which the attention of every pupil should be focused. In 
the use of an entirely new letter, the form should be fully 
explained. In another case, there may be a new combi¬ 
nation of a familiar letter with others. The modifications 
necessary in these various joinings require nice attention 
to make the letter distinct and to prevent confusion with 
letters of similar form. 

Besides the consideration of new features, a necessary 
part of each lesson is the warning of pupils against faults 
likely to be committed by them; as, for instance, in the 
spacing between letters or parts of letters, in the height, or 
in the relative height of parts, to say nothing of fundamental 
errors in shape and size. Here the blackboard is of use for 
illustrating these common faults, letting the incorrect and 
the correct form stand side by side before the pupils’ eyes. 
Interest is likely to be inspired if the children themselves 
are allowed to point out the errors and afterwards write the 
proper forms. 


14 


HOW TO TEACH VERTICAL WRITING. 


A good exercise for the board is this: 

The teacher, having written a copy containing a number 
of similar letters, like the accompanying, 



may ask some pupil to draw a line through all the letters 
which should have the upper and lower loops uniform in 
width. It will be found that all of the extended loops 
should be of uniform height. By a few skillful questions, 
the teacher can soon bring out the fact that a uniform 
crossing point is an important help in securing evenness. 
It may further be shown that, even if the loops are of the 
proper height and equal in width, the correct formation 
will not result unless the downward strokes have a uniform 
curve. 

Such are a few of the many devices by which, with the 
help of the blackboard, it is possible to keep a class inter¬ 
ested, even enthusiastic, in the pursuit of good penmanship. 

RULES FOR WRITING ON THE BLACKBOARD. 

I. Stand facing the blackboard. 

II. Step to the right continuously and do not reach the 
arm’s length in that direction while writing. Always 
stand directly in front of the down stroke you are 
making. 

III. When putting a single line of script on the board as 
a copy, write on the level of the eye. By so doing 
you will not only get a better view of your letters, 
but it will help you to write straight without ruling 
a line to write upon. 



HOW TO TEACH VERTICAL WRITING. I 5 

IV. Do not hold the crayon as you would a pen. Take 
the crayon between the first and second fingers and 
thumb, and let it point toward the palm of the hand, 
and not up beside the first finger, as you would a 
penholder. 

V. When writing on the board, do so with a firm stroke. 
This will give a strong, steady line if the crayon is 
used as instructed above. 

VI. Before writing the copy on the board, rule with a 
slate pencil a series of vertical lines which will be 
invisible to the class. These lines may be from 
four to six inches apart. As you write, make your 
down strokes parallel to these lines, thus securing 
vertical writing. 


PERSONAL OVERSIGHT. 

A thorough and unremitting supervision on the part of 
the teacher is absolutely essential in order to check careless 
methods and prevent them from growing into habits. In 
teaching penmanship an ounce of prevention is better than 
a pound of cure. The teacher must be able to analyze 
and help pupils to analyze letters into parts and strokes. 
Knowing the peculiarities of all the letters, as well as the 
characteristics common to many, the teacher can point 
them out to the class, thus supplying general principles 
to fall back on in perplexity. Often the distinguishing 
feature of a letter lies in a turn or the size of an angle 
— as in n and u — and, as in the words month and mouth, 
this is the only means of deciding which letter it is. Care 
in such equivocal formations should be repeatedly urged. 
As a simple example of analysis, let us look for common 
traits in the letters a and b. We find none, and the prac- 


1 6 HOW TO TEACH VERTICAL WRITING. 

tice of one would be no direct help toward making the 
other. Let us try a and d. They, as will readily be seen, 
have the first part alike, so that practice in making a is of 
immediate use in making d. It is as easy to see that small 
i, u, and w, are similar, one being a natural development 
of the other. The dullest pupil, after a multitude of such 
examples, can hardly fail to see that the most complicated 
letters are associations of simple forms, and this recog¬ 
nition will be an aid and spur. 


UNIFORMITY. 

Nothing has more to do with the pleasing appearance of 
a written page than uniformity. This includes uniformity 
of height, as well as of distance between letters and parts of 
letters. Ask the class if they have ever seen a large com¬ 
pany of soldiers or of Knight Templars, or of any body of 
men all dressed alike, marching in regular order with uniform 
step. Ask whether such a body of one thousand men Would 
not look better than another thousand men on their way to 
a fire, running pellmell, and dressed some in light coats, 
some in dark coats, others with no coats at all ; some 
with tall hats, some with soft hats, and others bareheaded. 
Then inquire if the class has not seen pages of writing that 
looked as if the letters had just heard a fire alarm bell. A 
famous jingle, written as a postscript in apology, describes 
such penmanship: 

“ The /’s are not crossed, the i ’s are not dotted, 

Some words are expunged, and others are blotted, 

And some are spelled wrong, or letters left out; 

One scarcely can tell what I ’m writing about. 

My capital letters are all on a spree: 

Every B is an every A is a Bj 


HOW TO TEACH VERTICAL WRITING. 


; 


The P's and the Q's are exactly alike, 

The M's, JV% and U's are out on a strike. 

Some letters are large and some very small; 

The words hop about like straws in a squall. 

I think, my dear sir, ’t is no writing at all.” 

Time given to practice in uniform spacing and uniformity 
of execution will be time well spent. 


MISCELLANEOUS SUGGESTIONS. 

Before passing on to a more detailed study of the system 
of vertical writing, as set forth in the Vertical Round-Hand 
Writing Books, it may be well to conclude the hints to 
teachers by the following practical advice: 

Urge constantly, though without “nagging,” the impor¬ 
tance of a good position. The position of the left arm has 
much to do with maintaining an erect posture. The elbow 
of the left arm ought to be kept on the desk and near its 
lower left corner. 

See that the writing does not become “backhanded.” 

Do not allow the use of very fine pens nor of stubs. 

Use good black ink that flows freely. 

Write the copy yourself in advance, so as to be thoroughly 
familiar with its difficulties. 

Criticise each pupil’s work in passing, a?ui have the book 
frequently handed to you for inspection and comment. 

During the writing lesson do not attend to making out 
reports or other duties foreign to the lesson. 

Do not expect pupils to write well without your unfailing 
interest and supervision ; in other words, do not let the 
book take the place of the teacher. 

The methods of the writing book may well be applied to 
all the writing done in school. 


i8 


HOW TO TEACH VERTICAL WRITING. 


Repetition of principles learned in the writing lesson, 
allusion to points there brought out, will be a valuable aid 
to the teacher in correcting the pupils’ penmanship in other 
school work. 

Turning to the Vertical Round-Hand Series, let us 
examine in detail the system of practice and study which 
it sets forth. 

The chart on the opposite page serves to show not only 
the forms of the letters of this series, but also the arrange¬ 
ment of the letters according to similarity of formation. 
These points of similarity serve to fix individual forms in 
the minds of beginners, and they should be carefully pointed 
out and explained. 

By reference to the chart it will be seen that the writing 
scale consists of four lines which give three spaces. The 
linjs on which the letters are written is called the base line 
(B); the next above it, to which all short letters extend, is 
called the head line (H); the second line above, to which 
all capital and loop letters extend, is called the top line 
(T). The line below the base line is called the lower line, 
or added line below (L). 

T ____ 

H ___ 

B - — --- 

L _____ 

The distance between the lines is called one space. It 
will be seen that all letters above the base line are either 
one or two spaces in height, except r and ^ of the group of 
short letters, which are about one-fourth of a space higher, 
and the t, d, and /, of the extended letters, which are one 
and a half spaces high. All the others are either one or 
two spaces in height. Pupils should be led to notice, how¬ 
ever, that letters of two or more parts, like the small h or /, 








HOW TO TEACH VERTICAL WRITING. 


l 9 


VERTICAL ROUND-HAND WRITING. 


---.-! 1 1 1 1 1 1 1 | 1 1 1 1 1 1 1 1 1 

T7. \Aj TJT 7 VY~/ r WTy - 

1 1 1 ‘ iii 1 iii—ri 1 i i i 1 11- 

1 j j iii 11 1 1 1 1 1 1 11 1,1 1 11 

r '\t 'x, cr d; 1, tv A AAi— 

1,11 111 11 1 1 1 1 1 1 1 j 1 1 1 1 1 

—I—!—!-!_l l. i I i 1 1 1 1 1 1 1 1 1 1 1 1 11 11 

p __ 

j_ it 

n 

1 F 

[) 

CAy " 

'ru c. 

r 'f 

l j 'f 

V y \ . 

/ - r 



— 

111 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 11 11 

f t 1 1 III 1 r 1 1 1 1 11 

D 



" 'T 

(jy r 1 / ^ 

y 

l 


0 ... a f — 



1 1 1 1 1 j 1 1 1 1 1 1 1 i 

1 1 1 t 1 1 1 1 / 1 1 l 1 l 1 1 1 l Ir 

\i. 1 



Us A) U- A> (0 1 


0 v 

r~ 

I 1 

11 i| | t 1 1 1 1 1 I 

I ill 111 1 

ti r 1 ' 

1 i 1 

Jill 

1 1 1 1 

IT- 

i; 1' 1 

. (C 

i n ( 


L 

^ r 

71 

_ 

Lz _V 

A 

> ( 

Ay O 

JvV' 


AT 

l 1 l 11 ii 11 IiIj i I 1 . 1 . .1 1 

1 I 1 1 Till) III 1 1 1 1 1 1 1 1 1 1 1 1 

■ V) 1 / 1 ' 


f ] 



Y 

iL L< 


1t 

7 b t 

v... 1 

) 

1 

3 

I'lll 1 1 1 1 1 l|l till 1 1 1 1 III: 

1111 lilt III III III II III 

1 f ~Y/ ^ 

f ( ) 

1 n 

f 


ID?'JT 7 J 

V J 

A SI 

\ 


. a . 0 


till 

1 

1 1 1 

l l 1 

1 111 111 111 11 111 

1 1 1 1 1 t 1 1 1 111 1 1 1 1 


- A 

0 c 1 

tj : 

T- 

) 

7D 

— 4 ^ 

_ 

1 1 1 

J) cAU 

111 III i 

1 1 1 

1 1 

) 

1 

ill 

1 1 1 


Copyright, 1897, by Ginn & Company, 







































































20 


HOW TO TEACH VERTICAL WRITING. 


may have one part one space high, while the other part may 
be one and a half or two spaces high. Through carelessness, 
these parts are not always made in their proper relation, 
and so the uniformity of the writing is destroyed and legi¬ 
bility suffers. All the letters, either capital or small, which 
extend below the base line, touch the lower line, and are 
thus one space below. 

RULING OF THE BOOKS. 

For beginners, where attention is necessarily divided 
between position, pen holding, form, height, etc., it has been 
thought best to provide some assistance in the use of scale 
lines as a help to securing uniformity in height of letters, 
thereby rendering it easier to space letters and words more 
uniformly. In connection with the writing book practice, 
from the very outset, it is well to do some work on plain 
ruled paper, so that pupils may the sooner be able to dis¬ 
pense with scale lines. These scale lines, in the first place, 
suggest to the child, while he is still untrained, to measure 
with the eye a reasonable standard of size. They further 
help toward uniformity, the importance of which has been 
more than once insisted upon, and by this means a child 
will unconsciously acquire the habit of neat, even penman¬ 
ship. If left to himself to experiment, he will find it a 
harder and longer task to bring his handwriting into uni¬ 
form size than if trained from the beginning by means of 
scale lines in his writing book. 

ANALYSIS OF SEPARATE LETTERS. 

Referring to the chart on page 19, it will be observed 
that small i is the first letter given. This is because it is 
the simplest of all written forms, and a foundation letter, 
forming the basis of many of the small letters. This may 


HOW TO TEACH VERTICAL WRITING. 


2 


zc 


be illustrated by writing on the board such a letter as small 
a , and by its side small i. Erase the left part of the a and 
i will remain. Or write small d ; then erase the left curve 
and the upper straight line, and again the re¬ 
mainder will be small i. 

By reference to the chart it will be seen that 
small i is one space high and a little more than 
one space wide. It is used as a standard of measure¬ 
ment for the height of small letters. Grouped with 
it may be found the small u and w of similar formation. A 
characteristic of this group is the angular joining at the top 
of each letter. A valuable exercise to be used in connection 
with any of these three letters is the first one on the third 
page of the cover of all the writing books in this series. 

The small u is one space high and a little more than two 
spaces in extreme width. While measurement is usually 
made at the head line, where there is least variation, yet we 
often, in speaking of the width of a letter, refer to the 
distance between the main downward strokes. 


An exercise similar to that used for small i would be 
found beneficial, but it should be modified to make the 
distance between the letters a little greater than between 
the two parts, so that if six or eight were written without 
raising the pen, each small u would 
. be perfectly distinct, which would not 

\ J\^ jy \ b e true ^ spacing between letters and 

parts of letters were the same. This 
“ : is a point which needs careful atten¬ 

tion from the very first. By reference to the copy here 
given the meaning will be clear. In the copy u , /, w, the 
distance between the parts of small u is one space 













22 


HOW TO TEACH VERTICAL WRITING. 


32Z 


measured at the head line; but the distance between the u 
and /, or between the i and the w measured at the head line, 
is about one-fourth of one space greater, and this makes 
the whole legible, even if the dot over the i is omitted. 
Drill on this point till all get it firmly fixed in mind, and 
you will save yourself the need of a great amount of criti¬ 
cism hereafter. It will be well, also, to call special attention 
to the last part of the small w , and to show wherein it 
differs from the small u , and to practice with 
reference to emphasizing just that feature. 
It will be good practice to write the u and w in 
alternation, joining several without stopping. 

_Pupils will do well to make a decisive dot in 

the w at the joining of the horizontal curve 
which terminates the letter. The same feature will be 
found in small v and b, and attention to this in connection 
with the practice of w will prepare the way for an easy 
victory in these other letters. 

In practice with the three letters already given, the /, z/, 
and W) attention should also be given to making broad, 
uniform turns at the bottom of each letter and each part. 
So far as these turns are concerned, these letters may be 
considered as representative; for all other small letters, 
either one or two spaces high, which unite the right curve 
to the downward stroke should turn uniformly 
with these. There are at least sixteen small 
letters or parts of letters which have a turn at 
the bottom like the small i. 

The second group of letters may include w, 
n, v , and These letters are all character- ~ 
ized by a broad turn at the top. The first part of each of 
these letters is a full left curve making a broad turn at'the 
top, a turn precisely like the lower turn in the letters of the 
preceding group. The small i inverted would give the first 



! 

I ; 

t; 



'] 

ru 














HOW TO TEACH VERTICAL WRITING. 


23 


T 


IT 


part of n or m. The distance between the main downward 
strokes in the n is one space, as in the u. The following 
exercise will be found useful for practice in connection with 
n or m. 

No one can fail to note the similarity between the v and 
the w. Some pupils do not observe that the first part of v 
should be made like the n rather than like the i. It is a 
common fault in the practice of this letter by beginners, 
and sometimes by those more advanced, to make 
an angle at the top of the first part instead of a 
round turn. This is specially likely to happen 
when the letter is preceded by any letter which 
connects by means of a horizontal line, as from 0 
to v in the word move. Also the joining of the v 
to a small e, as in save , or similar words, causes no little 
trouble. An excellent practice in connection with this 
letter will be to write it in combination with the different 
vowels; as va, ve, vi, vo, each letter requiring a slight vari¬ 
ation in the connecting line. At another time, practice 
may be given to combine it in a word with various letters 
preceding, which will necessitate modification; as in carve, 
move, have , etc. If pupils are encouraged to make a list 
of such words, by way of silent work, and to 
weave them into sentences, additional training 
will be furnished. The judicious use of such ex¬ 
ercises is the best means to impress these points 
upon the memory and to turn the mind to the 
variations in written forms. What a child finds 




out for himself, on a suggestion from the teacher, will abide 
by him far longer than what is told him outright. 

Small x consists of the last part of small n, slightly modi¬ 
fied in slant, and crossed at the middle with a straight line. 















24 


HOW TO TEACH VERTICAL WRITING. 


This straight line slants enough to make the opening at the 
top and bottom about one-half space, measured at the head 
and base lines. The turns at the top and bottom should 
be alike. 

A p-ood exercise to be used in connection with the letters 

o 

of this group is here given; the main purpose is to get 
uniform spacing with equal turns at top and bottom. 



In such words as my, hymn, pyro, nymph, the value of the 
above exercise will be apparent. 

The letters o , a , e, and c are included in the third group, 
having as a common characteristic a full curve for the 
downward stroke. 

Small o begins at the top with a full round curve, uniting 
at the base line with another curve as full, which continues 
back to the head line, just closing the letter at the 
j top, and finishing with a horizontal curve, which 
drops enough to form a small loop at the top. The 
width at the middle height is about three-fourths 
of one space. It will be found good practice to 
make a series of small o’s joined without raising the 
pen, giving attention to making the letters full and round 
and all of equal width. 

The small a is begun at the top with a very full curve, 
slanting back one space and downward to the line, where it 
unites to a part like small i, the first upward stroke ( . 

of which touches the head line at the beginning 4 — 1 —f- 

point in order to close the letter at the top. As _L 

a help in making this letter of proper width with ( J i J 
all parts turned alike at the base line, let the _ 












HOW TO TEACH VERTICAL WRITING. 


25 


pupils make small u, and then change to the a by adding 
the curve from the top of second part to base of first 
part. It will be found a good plan to make several small 
«’s joined, and then, perhaps, change every other one to a. 
This will help to impress the fact that the connecting 
line between a and preceding letters in a word is one space 
longer than usual. The same would be true of d\ g, or q. 




Words like the two here given in script will illustrate the 
point. This will also show that a and u are equal in width, 
a point which will frequently need to be made prominent 
in all classes. This exercise will be found of value in 
connection with practice on the a. 




It must not be forgotten that all these exercises are 
intended for a double purpose, viz., to teach form and to 
assist in acquiring freedom of movement. 

Book No. 1 of the small size in the Vertical Round-Hand 
Series gives all the "scale lines and all the space marks to 
indicate width, as shown in the few letters here explained. 
By careful study of this book, in connection with the chart 
found on the covers of every number of the set, teachers 
will find all the assistance they will need to analyze properly 
every letter, capital or small, of the alphabet. There will 
be no difficulty in determining which of the movement 
exercises to adopt in connection with a given lesson. 
Directions to beginners should be plain and explicit, and, 
when possible, accompanied by some simple illustration on 
the blackboard. 


26 


HOW TO TEACH VERTICAL WRITING. 


For instruction in higher grades, another form of group¬ 
ing in copies containing letters with common parts, every 
copy suggesting some feature for concentration of effort, 
will be found useful to keep up interest and to review points 
previously studied. In a copy, for instance, containing 
a , d\ and g, or y, as 

ixy cLxr AyUjJ rX, 

the teacher may underline small a, and then ask some pupil 
to go to the board and underline all other letters having a 
similar part. Another copy may include b , v, and w , and 
with this a like method of emphasizing kindred forms may 
be employed. 

Again, words frequently occur in which such letters as 
n, p, h , jr, m seem to predominate, as in the sentence: 
“Opium is produced from the poppy.” Here a common 
fault is the failure to make the last half of the small / 
uniform in width with n or h , or even to make the second 
p like the first. 

In every class there will be some children who write with 
little or no care, many who write hastily and thoughtlessly. 
To acquire habits of neatness, they should be led to think 
while they write, and to pay close attention to the “ little 
foxes that ruin the vines,” the details which seem trivial, 
but on which the final beauty or ugliness of a page 
depends. 

“We think while we write, and write while we think. 

If we think right, we write right, and there’s no loss of ink. 

By thinking and writing, perfection to gain, 

Bad habits will leave us, and good ones remain.” 


HOW TO TEACH VERTICAL WRITING. 


27 


CONCLUSION. 

We would not have our readers suppose that a vertical 
hand is an immediate panacea for all the ills to which writ¬ 
ing is heir. There is no royal road to good handwriting, 
and the sooner one is disabused of that notion the better. 
Some obstacles there are sure to be in the way of good 
handwriting, of whatever style, and to ascertain these and 
find means to overcome them is the part of wisdom. We 
have tried in this manual to indicate such a process, but we 
can at best serve only as a guideboard to point the way. 

One thing is sure. Little progress will be made without 
careful instruction and painstaking by the teacher. More 
interest and enthusiasm in the work are necessary. The 
pupils should share this spirit, as they will if it is sincere. 

Let the teacher have first a clear conception of how 
important the matter is; then a perfect comprehension of 
the methods and familiarity with details of practice; these, 
with sympathy, determination, patience, and enthusiasm, 
cannot fail to produce satisfactory results. A sufficient 
compensation for any sacrifice this may require lies in the 
certainty that many pupils will acquire the use of a power¬ 
ful lever, by which, in after years, they may raise themselves 
to positions of honor and trust. 


A FEW HINTS FOR CONDUCTING LESSONS. 


Lesson 1. 

The first lesson should of necessity deal largely with 
matters pertaining to position, penholding, position of 
book, etc., all of which have been explained in this manual 
under their proper headings. 

Let us suppose we are before the class ready to begin the 
lesson. The books have been distributed, the pens are on 
the desks, every child is in an attitude of attention. 

(i) Be careful to hold the attention. To this end the 
teacher must be fully ready to begin right and carry forward 
the work, step by step, without a break of any kind. If the 
teacher hesitates, as if she were uncertain how to proceed, 
the pupils will detect the fact at once. If she begins to 
explain a letter or copy and is obliged to stop and refer 
to it to find out just what it is, or to ascertain the propor¬ 
tions of any letter, she has half confessed herself unpre¬ 
pared, and to that extent has lost the confidence of the 
pupils in her ability to give sound instruction. The whole 
subject of the lesson should receive care at the teacher’s 
hands before she comes to the class. She should sit down 
and write the copy several times before attempting to put 
it on the blackboard. For holding the attention of the 
class nothing will be found more serviceable than a judi¬ 
cious use of the blackboard. See page 13. 

She may perhaps begin like this. 


A FEW HINTS FOR CONDUCTING LESSONS. 29 

“How many of the boys and girls in this class would like 
to learn to write ? ” (All hands up.) 

“How many of you would like to write well ? ” 

“How many of you have seen good writing ? ” 

“How many of you have seen bad writing ? ” 

Teacher writes on the blackboard a word, as man , making 
the letters very uneven in height and size. 

“Do you think this is good writing?” (An emphatic 
« No ! ”) 

“Johnny, tell us why it is not good writing.” Johnny 
says, “Some letters are too big and some are too little.” 

“Yes, the letters are not all the same size. How many 
think it would look better if all the parts of m and n were 
the same as the a in height ? ” (All agree.) 

“Certainly, it would look better if so written. Let us 
write it so and see if it does not improve it.” Teacher writes 
it again, this time with uniformity in height of letters and 
their parts. (All agree that this looks much better.) 

The teacher should make this one thing so prominent 
that for the time nothing else shall overshadow it. The 
object should be to concentrate attention on just one point, 
and make that so plain that there can be but one answer. 
Of course size and height are not interchangeable terms as 
a rule, but with beginners they may be so treated for a 
little while. 

“Now let us look at our copy for a few minutes. The 
copy which we are to follow is found at the top of the 
page.” No matter what the letter may be, each child should 
be able to name it. This is the first thing. Next show the 
class just how to write it: where to begin, what kind of 
line, curved or straight, and just where to end. This is 
done by writing it on the blackboard, several times if 
necessary. It will be well also to show where they are 
likely to fail. 


30 A FEW HINTS FOR CONDUCTING LESSONS. 

All this requires less time to do than to tell how to do it; 
yet it pays, for it not only helps a child to see, but it also 
shows him that his teacher is interested for him to know, 
and this is important. 

Draw the scale lines on the blackboard and write a letter 
or word like the copy. Show the class that the scale lines 
are given to help them keep the letters of uniform size. 
Having made it plain, allow them to take the pen and 
try the copy. If pens are used for the first time, it will be 
necessary to show them how to dip the pen into the ink 
so as not to touch the bottom of the ink well and overload 
the pen, thus causing blotting and daubing the fingers. 

Ask them to notice the little hole in the pen near the 
point, and request them to dip the pen just far enough into 
the ink to cover the little hole. It will then give them suffi¬ 
cient ink to write, but not enough to drop from the point. A 
new pen may be moistened on a sponge, or held in the mouth 
an instant, but children should be told that the pen must 
never be put into the mouth after once having been inked. 
All should, therefore, have a penwiper ; and two or three 
pieces of old silk stitched together will make a better pen¬ 
wiper than either a piece of chamois or woolen cloth. 

Proceed slowly at first, letter by letter, or word by word, 
at the call of the teacher. At first it may be better to write 
by columns. As this proceeds, let the teacher pass among 
the pupils to assist and encourage. Some will fail to under¬ 
stand just what is required, others may hold the pen upside 
down, while others will hesitate, fearing they may go wrong. 
There will be enough to do to keep a class together to 
engage all the teacher’s time. Do but little at each lesson, 
but give one at least each morning. 


A FEW HINTS FOR CONDUCTING LESSONS. 


31 


Lesson 2. 

“Attention ! Position ! Open books ! ” 

“Let us look at what we wrote yesterday.” 

“ Henry, what was the copy yesterday ? ” 

“ Richard, what is the copy to-day ? ” 

“ Can any one see in the copy for to-day anything that 
looks like that of yesterday ? ” 

Let us suppose the copy was small i for yesterday, and 
small u or w for to-day; or small a yesterday and small d 
to-day. Bring out from the children, by skillful question¬ 
ing, the points of similarity in the forms of the letters. 

“ Look at the page you wrote yesterday and see if you 
can find any place where it does not look like the copy.” 
(Hands up.) 

Let a few explain the mistakes observed. Probably they 
will say, first of all, that they failed to make the letters of 
the same size; at any rate touch upon that point by way 
of review and to clinch it. 

Now write on the board any word of the copy, making the 
lines much too heavy. Ask if any pupil put too much ink 
on the other page. Write another word, or the same one 
again, this time making all the up strokes weak and the 
down strokes very strong, and again the third time write it 
correctly, and call attention to the difference in appearance. 
After explaining the copy and asking specially that all the 
letters be made of uniform height, let them take the pens 
and try again, this time trying also to make all the lines of 
uniform strength. Of course this phrase “uniform strength ” 
can be made plain to them by illustration. As you go about 
the room, some books will be found written with good qual¬ 
ity of lines; hold up such a book for the class to inspect, 
and encourage others to do similar work. 


32 A FEW HINTS FOR CONDUCTING LESSONS. 

Usually one new feature taken up at each lesson, with the 
old in review, or sometimes simply the review presented in 
a new way, will be all that is needful. The chief point is 
to keep up the interest, and this can be done in many ways, 
which will suggest themselves to a teacher. No teacher can 
expect first-class results if pupils are left to their own 
resources. It is well to remember also that it is much 
easier to keep the interest, than to regain it when it is once 
lost. If a child has written a page or two which is far 
below his own standard of excellence, because of lack of 
interest, it will be hard for him to recover interest, knowing 
that his book is already half spoiled. If habits of neatness 
and care are formed, they will affect not only his copy book, 
but much of everything else which he does in life. Appeal 
to the observation of children and you will find the majority 
of them have already noticed the difference between tidy 
and untidy dress, attention or lack of attention in personal 
appearance, so far as the care of the hands, finger nails, or 
hair is concerned. Ask them if they like to see a garden 
which is full of beautiful flowers better than one full of weeds. 
Tell them a careless boy is quite likely to grow into a care¬ 
less man, and that they must form habits and ways of doing 
things which they like to see in others. 

Lesson 3. 

Young children will hail with delight the time for the 
writing lesson, if it is conducted in a manner to keep them 
interested. 

They like to use their hands as well as their brains. 

Occasionally proceed somewhat as follows: 

“ How many of you boys and girls ever tried to write a 
letter?” 

Johnny says, “I tried to print one once when my papa 
was away from home.” 


A FEW HINTS FOR CONDUCTING LESSONS. 


33 


Nellie says, “ I wrote one to Santa Claus and told him 
what I wanted him to put into my stocking.” 

Willie says, “ Santa Claus gave me a nice box of paper 
and envelopes, and I am going to write some letters,” etc., 
etc. 

“ I think it will be well for all of you to write me a letter 
some day and tell me in what street you live, the name 
of the city in which you live, when your birthday is, and 
what you did during vacation. How many would like to 
do that ?” 

“Well, then, we must learn to write well; we must learn 
how to spell correctly, and to do neat and careful work in 
everything. A letter with blots and finger marks all over 
it would not look well.” Here the teacher may hold up a 
couple of letters, written on children’s paper, prepared be¬ 
forehand ; or, better still, letters that children have written, 
one neat, clean, nicely folded to fit the envelope, and care¬ 
fully addressed; the other crumpled, blotted, badly folded, 
and creased. It will be a good lesson on neatness, which will 
help for days to come in all writing lessons, either in or out 
of the writing book. And it may be well to say here that 
it should be the aim of the teacher to see that all written 
work is carefully and neatly done. Habits are being formed 
now which will strengthen with age; let them be habits of 
careful attention to little details in neatness, arrangement, 
and execution. 

The influence which a teacher exerts unconsciously in 
this direction is of grave importance. Therefore, if you are 
not careful in what you place before the children on the 
blackboard, or in written work of any kind, it will be much 
harder to implant good habits in your pupils. Tell the 
children about the man who added the postscript to his 
letter, as described on page 16. They will appreciate it 
and it will keep them interested. The teacher may now 


34 A FEW HINTS FOR CONDUCTING LESSONS. 

write on the board some word or words illustrative of words 
“which hop about like straws in a squall.” 

Write a word with some of the strokes vertical, some 
“backhand,” some too much curved, and other curves too 
nearly straight. By the side of it write the same word 
again with all the strokes vertical. Showing faults by 
comparison is one of the most effective ways of teaching. 
Let them now proceed to write the copy, keeping in mind 
that the letters should be of uniform height, i.e., touching 
the head and the base line, and of uniform strength, as well 
as uniform in direction of the downward lines. 

These points may be illustrated in various ways, but do 
not fail to keep them clear, so that there shall be a definite 
aim. He who aims at nothing hits nothing. Have a mark, 
and try to hit the “ bull’s eye.” 

Lesson 4. 

“Johnny, tell me how many desks there are in this 
room.” 

“Is your desk as near to Willie’s as Willie’s is to 
Nellie’s ? » 

“Are all the desks in each row the same distance apart 
at the back of the room as at the front of the room ? ” 

“ What do we call the space between the rows of desks ?” 

“ Is this aisle just as wide at the front as it is at the back 
of the room ? ” 

“Suppose the carpenter had brought these desks in here 
and dropped them down anywhere, and fastened them down 
just where they fell; how do you think the room would 
look? ” 

“ What did he do before he fastened them to the floor ? ” 

“ Do you think he improved the appearance of the room 
by placing them in rows and keeping them just the same 


A FEW HINTS FOR CONDUCTING LESSONS. 35 


distance apart? Did you ever see an American flag? By 
what other name do we call it ? ” 

“ How many stripes are there on the flag ? ” 

“ Of what colors are the stripes ? ” 

“ How many are red ? ” 

“ How many are white ? ” 

“ Are all the red stripes and all the white stripes of the 
same width ? ” 

“ Suppose you should see a flag with some wide stripes 
and some narrow stripes; do you think it would look 
well ? ” 

Teacher writes on the board, Thirty-six desks and Thirteen 
stripes , making very unequal “spacing,” or distance, between 
the letters. 

In all other features the writing should be as nearly 
normal as possible, so as to make the spacing all important. 

By questioning bring out the faults. Show how difficult 
it is to read a page, if it is written with unequal spacing. 
This can be done by writing several words, leaving so little 
space between them that at first there appears to be but 
one long word. 

Any illustration which will show this one feature will 
answer, and the teacher may think of others more suitable 
for her class. 

Again, the teacher may write the words Thirteen stripes 
on the board six or eight times, each under the first, but 
with some of the lines very close and others wide apart. 

It can easily be shown that if the lines are equally 
distant, the page will look much better than if written in 
a haphazard way. 

Ask the children to look at the dark blue lines in the 
copy book, and they will tell you that they are equally dis¬ 
tant from each other, and that the spaces between the lines 
are the same, just as in the flag. 


3 6 A FEW HINTS FOR CONDUCTING LESSONS. 

People often write on unruled paper or on envelopes, 
which are never ruled. Proper distance between lines is 
necessary in order to make the page or envelope look 
well. 

The distance between letters and parts of letters must 
be attended to, as the carpenter attended to placing the 
desks, or it will not be an easy matter to read what has 
been written. 


Lesson 5. 

“ Who can tell us what we found out yesterday that will 
help us to make our writing look better ? ” 

“Well, Sam, you may tell us.” 

“ We found that it ought to look like the stars and 
stripes .” 

. “Annie, tell us what you think.” 

“ I think we found that it ought to be as wide as the aisles 
between the desks.” 

How’s this ? Does disappointment creep over the teacher’s 
face, as a thundercloud shadows the summer landscape ? 
Possibly, but we trust it does not portend a shower of 
harsh words. Just such things may happen. It is difficult 
to tell just what to expect. It should serve to show that 
“ line upon line and precept upon precept ” is necessary to 
lodge instruction in some soil. But, after all, it may not 
be so bad as it appears. The answers may be a failure 
to express just what is meant. One thing is certain: chil¬ 
dren will, as a rule, do the best they can, if wisely led. 
They will forget soon and fail often, but they are ever 
ready to try again; and, although the illustration has failed 
to reach some, it may have lodged with others, and may 
in one way accomplish what was intended, — it kept them 
interested. This is half the battle. Although the results 


A FEW HINTS FOR CONDUCTING LESSONS. 37 

of one’s best efforts may often prove as fruitless as the 
above would seem to indicate, yet the teacher should not 
become discouraged, nor give up, nor, above all, give way 
to scolding. Some one has said, “ What is gained by harsh 
words is more than offset by ill-will.” This is quite true. 
Try another way. Use your own methods, if they are 
better adapted to secure results aimed at. Only be sure 
you have an aim, and that you use the best powder. Then, 
fire away! No man ever yet brought down a whole flock 
at one firing. A few will need individual attention. Spot 
those and bang away again, but this time at closer range. 

It will be observed from the foregoing that one lesson on 
a single topic will be insufficient. Take two or three, if 
necessary, but do not continue too long and wear it thread¬ 
bare. It will be better to leave it and return again after 
a little interval, when by new illustrations it will seem 
fresh. 

On nearly every page of a book there will be some new 
letter or combination of letters on which attention may be 
focused. Make this the central thought, with such instruc¬ 
tion on other points, in review, as seems wise. 

There will be some new form every day, and some general 
feature constantly, as spacing, size, direction, or uniformity 
in loops, etc. 

Occasionally, the teacher will do well to write three or 
four lines on the board, one under the first, and so on; the 
first very carelessly, the second a little better, the third 
still better, and the fourth as nearly like the copy as 
possible. 

Ask the children which they prefer. They will see that 
the lines were all written by the same person. 

Ask them why the first is not good, and, as a rule, they 
will answer, “ Because you did not try.” Ask if the second 
line is good enough. They will answer “No.” 


38 A FEW HINTS FOR CONDUCTING LESSONS. 

Show them that it took but a trifle longer to write No. 4 
than to write No. 1 . Ask if they do not think it pays to 
give the extra time. They will see the point and give the 
answer you wish. Then apply it. 

“ The noblest undertakings man’s wisdom hath conceived, 

By oft-repeated effort have been patiently achieved.” 



No. 3. 


ADVERTISEMENTS 

































































I 















i • i 


















Ginn & Company’s 

Vertical Round = Hand Writing Books 


Large size : 7 numbers ready. Nos. 1-4 revised. 

For introduction, 96 cents per dozen. 
Small size : 4 numbers ready. 

For introduction, 72 cents per dozen. 


The feature which distinguishes Ginn & Company’s 
Vertical Writing Books from all others and makes 
them the most practical is apparent to even a superficial 
observer. It is, as its name suggests, distinctly a round- 
hand writing. 

Heretofore the objection to vertical penmanship has 
been that it could not be written rapidly. These copies are 
made so as to be reproduced with a good degree of speed, 
thus making vertical writing meet the demands of^ business. 
No other book gives such a copy. It is universally admitted 
that any system of writing to become popular must make 
this free-hand feature prominent. Compare the roundness 
of the turns in the letters of these books with that of any 
other series extant. The only way to get this roundness is 
to write with an arm movement which is of necessity a very 
free motion. The character of the copies in other vertical 
copy-books proves that a slow finger movement is used to 
reproduce them. 

Another important feature gained by the roundness of 
the writing is legibility. The argument in favor of vertical 
penmanship which has the greatest weight is that it is 
more legible than the slanting style. Ginn & Company’s 
Vertical Writing Books present an open round hand¬ 
writing, which, when written, will produce the greatest 
legibility, as well as add to the beauty and general openness 
of the page._ 

SHAYLOR’S VERTICAL SPELLING BLANK. 

8vo. 24 pages. For introduction, 42 cents per dozen. 


GINN & COMPANY, PUBLISHERS, 

BOSTON. NEW YORK. CHICAGO. ATLANTA. 






TUI EDUCATIONAL MUSIC COURSE 


BY 


LUTHER WHITING MASON, 


Formerly Supervisor of Music, 
Boston Public Schools, 


JAMES M. MCLAUGHLIN, 
GEORGE A. VEAZIE, 

W. W. GILCHRIST, 


Supervisor of Music, 

Boston Public Schools, 
Supervisor of Music, 

Chelsea Public Schools, 
Author of “ Exercises for 
Sight-Singing Classes,” etc. 


READERS. 


First Reader. 90 pages. Price, 2$ cents. 

Second Reader. 90 pages. Price, 25 cents. 

Third Reader. 122 pages. Price, 30 cents. 

Fourth Reader. 122 pages. Price, 30 cents. 

Fifth Reader. 122 pages. Price, 30 cents. 

Sixth Reader. 298 pages. Price, 60 cents. 


CHARTS. 

Introductory Chart. 28 pages. Price, $6.00. 
First Chart. 30 pages. Price, $6.00. 

Second Chart. 30 pages. Price, $6.00. 

Third Chart. 32 pages. Price, $6.00. 

Easel. Price, $1.00. 


General Plan of the Series. 

First Year, Introductory Chart. Second Year, Introductory Chart 
(if desired, First Reader). Third Year, First Reader and (optional) 
First Chart. Fourth Year, Second Reader and (optional) Second Chart. 
Fifth Year, Third Reader and (optional) Second Chart. Sixth Year, 
Fourth Reader and (optional) Third Chart. Seventh Year, Fifth 
Reader and (optional) Third Chart. Remaining Years, Sixth Reader. 


Louis C. Elson, Instructor in the Theory of Music, New England Conservatory 
of Music , Boston, Mass.: The Educational Music Course seems to me admirably graded 
and excellently suited to its purpose. The exercises, vocalises, and songs go hand in 
hand so admirably and the progression is so gradual that I feel warranted in recom¬ 
mending the books very cordially. 

William J. Kirkpatrick, Music Director, Philadelphia, Pa.: I have carefully 
examined all of your Educational Music Readers, both as to quality of music and general 
adaptability to teaching in graded schools. I am greatly pleased with them, and in my 
opinion they are excellent. 

G. P. Junkermann, Superintendent of Music, Cincinnati, Ohio: You have 
certainly succeeded in placing before the public a series of text-books that ranks well 
with the best known at the present time. 


Descriptive circulars of the Educational Music Course sent, postpaid, to any address. 
We cordially invite the Correspondence of all interested in school music. 


GINN & COMPANY, Publishers, 

Boston. New York. Chicago. Atlanta. Dallas. 






THE CYR READERS 

By ELLEN M. CYR. 

THE CHILDREN’S PRIMER. Sq. i2mo. Cloth. Fully illustrated. 
106 pages. For introduction, 24 cents. 

THE CHILDREN’S FIRST READER. Sq. i2mo. Cloth. Fully 
illustrated. 111 pages. For introduction, 28 cents. 

THE CHILDREN’S SECOND READER. Sq. i2mo. Cloth. Fully 
illustrated. 197 pages. For introduction, 36 cents. 

THE CHILDREN’S THIRD READER. Sq. i2mo. Cloth. Fully 
illustrated. 280 pages. For introduction, 50 cents. 

THE CHILDREN’S FOURTH READER. Sq. nmo. Cloth. Fully 
illustrated. 388 pages. For introduction, 60 cents. 


The Children’s Primer contains more reading matter, in 
proportion to the number of new words, than any other 
book in the market. 

The Children’s First Reader is made for the second half- 
year. It is a simple but steady growth in the same line 
with the Primer. 

The Children’s Second Reader is based upon stories from 
the lives of Longfellow and Whittier, supplemented by many 
other pretty stories of nature and childhood. « 

The Children’s Third Reader is arranged on the same 
lines as the Second Reader. Stories from the lives of 
Lowell, Holmes, and Bryant are introduced. 

The Children’s Fourth Reader has been prepared on the 
same lines as the Second and Third Readers. Sketches of 
Hawthorne, Dickens, Scott, Tennyson, and Irving are intro¬ 
duced, amply illustrated with portraits and pictures of the 
homes of these authors. Choice selections have also been 
made from authors whose writings are especially interesting 
and instructive to pupils of fourth reader grade. 


Ginn & Company, Publishers, 

Boston. New York. Chicago. Atlanta. Dallas. 



STORIES FROM ENGLISH HISTORY 

EDITED BY 

ALBERT F. BLAISDELL. 


Square i2mo. Boards, igi pages. Fully illustrated. 
For introduction, 40 cents. 


This is a book of stories from English history, edited 
for school and home use. It is intended to serve as a 
supplementary reading book for boys and girls from ten 
to fifteen years of age. It consists of a series of dramatic 
and notable events in English history from the earliest 
time to the present day, carefully compiled and rewritten 
from standard books and well-known authors. 

The material has been arranged in the form of stories 
with the intent to arouse a lively interest in historical read¬ 
ing and a keen desire to know more about the history of 
our mother country. 

It has been the aim of the editor to furnish in a readable 
and connected form a useful and convenient introduction to 
more advanced works for young folks on similar subjects. 

It is needless to say that some of the stories, so far as 
historical accuracy is concerned, rest upon very slender 
foundations. Whatever semi-mythical character may be 
attached to these and other familiar stories in this book 
does not detract of course from the pleasure and instruc¬ 
tion which they may afford youthful readers. 

These stories, supplemented with various picturesque 
anecdotes, are written purposely in an easy and familiar 
style and in very simple language, with the aim to attract 
and hold the attention of young pupils. 


GINN & COMPANY, Publishers, 


Boston. 


New York. 


Chicago. 


Atlanta. 


Dallas. 





ALL THE YEAR ROUND. 

By FRANCES L. STRONG, 

Of the Teachers' Training School, St. Paul, Minn. 


Part I. AUTUMN. 

Sq. 12mo. 102 pages. Fully illustrated. For introduction, 30 cents. 

Part II. WINTER. 

Sq. 12mo. Cloth. 102 pages Fully illustrated. For introduction, 30 cents. 

Part III. SPRING. 

Sq. 12mo. Cloth. 99 pages. Fully illustrated. For introduction, 30 cents. 

This series is designed to tell in a child’s language, and 
in a manner interesting to children, stories of the natural 
object studied for a specific day or lesson. The stories 
correspond in order of arrangement as nearly as possible to 
the precise time of the year at which the materials may be 
most readily obtained in our latitude. 

The work is adapted to the second, third, or fourth year 
of school according to the course of study in the schools 
which use it. 

The stories are illustrated by Gertrude A. Stoker, Super¬ 
visor of Drawing in the St. Paul Public Schools, with pen- 
and-ink sketches of the objects studied. 

The series also contains literary selections akin to the 
lessons, and references to selections of similar nature that 
may be obtained from other sources. 


GINN & COMPANY, PUBLISHERS, 


BOSTON. NEW YORK. CHICAGO. ATLANTA. 




The most advanced views of teaching geography harmonized. 


Frye’s Geographies 

PRIMARV Sma11 Quarto. Cloth. 127 pages. Fully Illustrated. For 
I n I IIIMIt l introduction, 60 cents. 

nnnnni I—rr Large quarto. 184 pages. Cloth. Profusely illustrated. 

I il I III I I I I r with an Appendix of 24 pages of Reference naps. For 
UUITIII-L.IL. | ntroduction> $ i.25. 

Frye’s Geographies are universally recognized as repre¬ 
senting an advance movement in education, but their 
crowning merit lies in the fact that they not only can 
secure better results than other books, but can make the 
pupils’ work more interesting and the teacher’s work 
lighter. 

The success of Frye’s Geographies, which is literally 
unparalleled in the history of text-book publishing, shows 
that there is a deep and widespread demand for the best 
ideas, methods, and books. It goes without saying, that, 
at the beginning, it requires a little more skill and pains 
to teach the pupils to get ideas instead of words from 
their text-books, but that is of course the only right way, 
and in a little time it becomes the easier and more 
pleasant. 


J. M. Greenwood, Superintendent of Schools, Kansas City, Mo. 

By all odds, the Primary Geography is the best book of its kind 
that has been published in this country. 

L. H. Jones, Superintendent of Public Schools, Cleveland, Ohio. 

I am delighted with the Complete Geography; it is thoroughly 
modern and in line with the best methods of teaching. 

W. W. Speer, Assistant Superintendent of Schools, Chicago. 

Frye’s Primary Geography marks a new era in text-book making. 
It is the most practical geography published. 

F. F. Murdock, Principal of State Normal School, North Adams, Mass. 

I make no reservation when I say that the Complete is the best 
grammar-school geography I have ever used. 


Ginn & Company, Publishers, 


Boston. New York. Chicago. Atlanta. Dallas. 

















;vvv ^ ^. \ymrs x v ^ °.wr 


* v -w* * v *% **w 

*/~cr s * o, ° • * * A <* ' - * * 

, <S> n v . t / . , ^o J? o° M °* ^ 



’/ V^>* "V‘-°’ *° 

4 <y ** * °* O* V" * s *•>■„, o. 4 <y * * * 

^ * *fAAl^ 4 \ V * y\M\ • 



^ s* 


* aV«* 

* ** ^ •. 



.V ' <U *' ~ *‘ 

*y 0 ° w <> * <$> 

<<r *• 

<* 








^ " 1 
v ^ </***' ' 



\ <0 



•» „ 

A * ts ^ 4 „ »- V *> 

■> ■"o - v * .A. -A 

*p 

♦ o 

■ * O <1 

^ W ; 

^ 4 .°*^ '. 

cik 1 0 _ g> 

<0^ * « * ®- V V * * VI'* cv * Y * °* 

*♦ .VvW/k* A* .‘/dfefc*. ^ A* .* 



«■ *p 

*. ' 5 '-f>. « 

. -*-0 

; o 5 °a. 

<£• ** w ' .•* ^ 

A w V / 

.A? > V *lVw% 

^ / 4 V£ ^ ^ - 

'Jwl. ° 

* 


^ DOBBS BROS. r * & ^ 

LIBRARY BINDING ^ ^ 



* * 


o° H ° * 

. WS#' 32084 k A*V o. *♦ 


ST. AUGUSTINE 
i ,#3%, FLA. 


























